拍品 312
  • 312

PAUL KLEE | Junger Blaumond (Young Blue-Moon)

估價
70,000 - 100,000 GBP
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招標截止

描述

  • 保羅·克利
  • Junger Blaumond (Young Blue-Moon)
  • signed Klee (upper left); dated 1918, titled and numbered 13 on the artist's mount
  • gouache and watercolour on paper mounted on paper
  • image: 9.5 by 15cm., 3 3/4 by 5 7/8 in.
  • mount: 14.5 by 20cm., 5 3/4 by 8in.
  • Executed in 1918.

來源

Kestner Gesellschaft Galerie, Hanover
Dr Küppers, Hanover (acquired by March 1919)
Dr Kauth, Berlin (acquired by November 1919)
Achim Moeller, London
Conrad Dehn Q.C., London (probably acquired from the above)
Thence by descent to the present owner

展覽

Hanover, Kestner Gesellschaft Galerie, Paul Klee, Lyonel Feininger, 1919, no. 16

出版

Paul Klee. Im Zeichen der Teilung (exhibition catalogue), Kunstsammlung Nordrhein-Westfalen, Düsseldorf & Staatsgalerie, Stuttgart, 1995, n.n, illustrated p. 334
Paul Klee Stiftung (ed.), Paul Klee, Catalogue Raisonné, Bern, 1999, vol. II, no. 1860, illustrated p. 438

Condition

Executed on buff-coloured laid paper, laid down on the artist's mount. The left and right edges are deckled and the lower edge is unevenly cut. The medium has slightly faded, notably in the orange and yellow elements. There is a faint residue of further more significantly faded pigment at the centre and upper right of the composition. There are handling marks to the artist's mount, notably on the right of the sheet. This work is in overall good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

拍品資料及來源

'Many a blond, northern moon rise, like a muted reflection, will softly remind me, and remind me again and again. It will be my bride, my alter ego. An incentive to find myself. I myself am the moonrise of the South' (quoted in Christine Hopfengart & Michael Baumgartner, Paul Klee, Life and work, Zentrum Paul Klee, Bern, 2012, p. 66).


The delicate watercolour Junger Blaumond (Young blue-moon) was originally created as part of a diptyque representing a seascape by night, but Klee eventually decided to separate the seascape into two independent works. The upper part of the diptyque was subsequently named Fata Morgana zur See (Mirage by the sea). Compared to other nautical scenes created by the artist during World War I, the present work is particularly luminous. Junger Blaumond was created at a particular time in the artist’s life when colour returned to the forefront of his œuvre for the first time since his celebrated series of Tunisian landscapes in 1914. Inspired by a Chagall exhibition in Berlin in 1917, Klee introduces a palette of tender and transparent washes of colour complementing the fine lines of his drawing. The vibrant blue colour of the moon can be associated with the search for the “spiritual in art” promoted by the Blaue Reiter group, of which Klee was a founding member. The motif of the moon appears to be of great importance to the artist, as stated in one of his notebooks: 'April 12. The evening is indescribable. On top of it all the full moon rises. L. is prodding me. He wants me to paint it. I say: it won’t be any more than an exercise. In the face of such nature I am bound to fail. And yet I know something more than I did before. I know the road from my failure to nature. That is an internal affair to keep me busy for the next few years. It doesn’t trouble me one bit. No use hurrying when you want so much. This evening is deep inside me – forever'  (quoted in Christine Hopfengart & Michael Baumgartner, Paul Klee, Life and work, Zentrum Paul Klee, Bern, 2012, p. 66).